摘要
清代广东画家苏仁山生平坎坷,画风奇古,同时代的画人、文人对之甚少记载。在其离世后半个多世纪,他的艺术才开始被人发现、展示与收藏。过往研究者将之归功于曾任广东领事的须磨弥吉郎,事实上须磨只是20世纪前期众多苏仁山艺术发现者之一。清末以降世风转变、时事漫画兴起以及艺术评判标准改变,是苏仁山艺术被当地艺术家、收藏家重新发现、推介与收藏的重要契机。其作品自1950年代开始作为"文物"被博物馆收藏。其成为博物馆文物的过程,不仅仅反映20世纪以来广东绘画审美趣味的改变,还展现了20世纪以来"艺术品"与"文物"在展览会、博物馆体系建立的脉络下被建构的过程。
Su Renshan, a Cantonese painter of the Qing Dynasty with a bumpy life, had a unique style in his works but was seldom recorded by his fellow artists and literati. More than half a century after his death, his art began to be appreciated, displayed and collected. At first, researchers owed it to Suma Yakichiro, the former Cantonese consul. But in reality, Suma was only one of the many discoverers of Su Renshan art in the early 20 th century. Since late Qing Dynasty, the world changed with the rise of current-event cartoons and the alteration in art evaluation standard, which marked a significant opportunity for the discovery, publication and collection of Su’s art by local artists and collectors. His paintings have been collected by museums since the 1950 s. The process of becoming "cultural relics of the museum" not only reflects the changes in the aesthetic taste of Guangdong paintings since the 20 th century, but also shows how the definitions of "artworks" and "cultural relics" were constructed along with the establishment of expos and museum systems since the 20 th century.
出处
《中国国家博物馆馆刊》
CSSCI
北大核心
2019年第8期89-99,共11页
Journal of National Museum of China
关键词
苏仁山
须磨弥吉郎
博物馆史
广东国画研究会
Su Renshan
Suma Yakichiro
Museum History
Guangdong Chinese Painting Research Society
